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Rock's favourite couturier, an unparalleled master of modern made-to-measure occassionwear or the most criminally overlooked designer in British fashion? We unpick the bombshell seams of Antony Price's four decades in the rag trade through profile, pictures and the very patterns of his trademark cut to lay bare this veritable and venerated fashion legend.

One example of Price's potent eveningwear, which remains his enduring trademark. Christened 'result wear' by British journalist and broadcaster Janet Street-Porter, this example utilised semi-transparent silk-jersey for its erotic impact.

Original artwork for one of the trademark 'Zonda' silkscreened t-shirts, sold at Antony Price's seminal boutique Plaza during the late-1970s. At the bottom right are Price's sketches for the tessellation of the prints during manufacture

The Roxy Music song Trash declared 'Go to Plaza, where's the trade?' - and Price's iconic boutique at 34 King's Road (named, like Roxy, after a nostalgic for Art Deco movie-houses) became a cult destination for seventies style fanatics.

Price's topstitched and laced leather 'Disciplinary' dress from 1983's Fashion Extravaganza, a series of 12 themed vignettes fusing music and fashion staged at the Camden Palace. This outfit was part of a sequence inspired by Marvel Comics

Cast from Norman Parkinson's May 1975 British Vogue cover and styled by Antony Price, Jerry Hall's appearance on the sleeve of Siren became the definitive vision of the stylised, eroticised Roxy Music cover girl. Price's original sketches show a number of variations on the costume's theme

Test card for the spray-paint used on Jerry Hall's costume for the iconic cover of Roxy Music's Siren LP. The photograph was originally to have a green colourway, but the colour of the sea changed the second time Ferry and Price visited the location, therefore Price re-sprayed the costume blue. On the back, in pencil, is the name of the car spray-paint used, 'Vauxhall Sapphire Starmist'.

A typical Antony Price design from the 1980s, with fabric cinched and swathed around the figure. On the reverse are pencil sketches marked with the measurements of top model and Price favourite Susie Bick

An obsessive perfectionist and self-confessed control freak, the only music video Antony Price was truly happy with was that created for Bryan Ferry's Let's Stick Together. Price devised the stage design, draped the curtains for the backdrop and designed every piece of clothing, including Jerry Hall's notorious tiger dress complete with swinging tail

Price's fascination with ornithology is betrayed in the bird-like form of this Kingfisher-blue taffeta evening dress from the late-1980s. Later, long-term collaborator and friend Philip Treacy would use feathers from Price's prize Yokohama fowls in his millinery.

Design for a pleated blue lamé dress worn by Marie Helvin in Price's Autumn/Winter 1980 show. Similar dresses were worn by Roxy Music's backing singers, who had to be carried on to the stage due to the restrictive lines of the dresses.

Antony Price's aesthetic has always owed a debt to the kitsch fetish of British Pop artist Allen Jones. Here, bullet-breasts and the receptive mouth of a sex doll furnish this decidedly tongue-in-cheek sketch, which nonethless bears all Price's classic hallmarks

Antony Price's original sketches for the evening dress worn by Sophie Ward in the promotional video for the Roxy Music single Avalon, 1982. This version - off the shoulder, with corsage - was the one used in the final video

Original card depicting the famous 'Arse Pants' from Plaza and their retail price. These signs, and samples of the garments on sale, were nailed to wooden boards while the goods themselves were ordered through a serving hatch.

Price's preparatory sketch for a photographic image eventually used in his promotional material for Spring 1988. Price not only sketched the layout and designed the clothing, he also styled the model and took the photographs themselves

Price declared in The Face in 1983 'I’m not a fashion designer… I’m really in the theatrical business' - although this outfit is a television costume, it could quite easily have been taken from one of his block-buster eighties catwalk shows. A swatch of the original leather is still attached to the sketch.

Foreshadowing the exaggerated shoulders of the eighties and echoing his taste for fifties nostalgia, this collegiate sweater is a fusion of past and future. Price's space-age logo, devised in 1979, is featured on the breast

About

Rock's favourite couturier, an unparalleled master of modern made-to-measure occassionwear or the most criminally overlooked designer in British fashion? We unpick the bombshell seams of Antony Price's four decades in the rag trade through profile, pictures and the very patterns of his trademark cut to lay bare this veritable and venerated fashion legend.